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Prayers The preceding analysis has revealed that to understand Ps 58, and the imprecatory psalms at large, we need to embrace the perspective of the victims and to see the world through their eyes. 88 The imprecatory psalms are, in fact, the voice of those who appeal to God because they lack “the power

In: Biblische Zeitschrift

, zwischen (erborgtem) Luxus und (normalem) Hunger, an den Rändern der ehrenwerten Gesellschaft. Sie gehören sicher nicht zur sozialen Oberschicht, weshalb man sagen kann: „One of Alciphron’s aims in the work as whole is to construct a fantasy image of the voices of the sub-elite underbelly of classical

In: Biblische Zeitschrift

beschreiben zu können, da sich showing und telling für beide Erzähldiskurse nachweisen lasse. Für meine Überlegungen ist aber wichtig, dass die extradiegetische Ebene mit einem heterodiegetischen Erzähler nur bedingt dazu dient „to create the illusion of a teller, a personalized voice serving as narrator

In: Biblische Zeitschrift

, die nur die Elementarschule und vermutlich auch solche, die zusätzlich die Grammatikschule besucht hatten, eher stockend und mit einer eher kleinen „eye-voice-span“ zu lesen vermochten. Die Lernstrategie auch in der Grammatikschule zielte darauf, den gelesenen Text fehlerfrei vortragen zu können

In: Biblische Zeitschrift
In: Pentecostal Hermeneutics

whom Shannon lived and worked in the late nineteen-forties and early -fifties at Massachusetts Institute of Technology. 34 After observing a demonstration of a Bell Labs voice synthesizer, Lévi-Strauss wrote Both in the production of devices to synthesize speech … as well as in the theoretical

In: Horizons in Biblical Theology

A voice is heard in Ramah, wailing, bitter weeping Rachel is weeping for her children she has refused to be comforted for her children for they are no more. (Jer. 31:15) Since ancient times, readers of this text have found in it particularly fruitful imagery and language for describing the

In: Biblical Interpretation

“hear” Paul composing and reading a letter (or perhaps his testament) addressed to Timothy. Starting in Scene 103 and explicitly marked in Scenes 104 to 110 (“Paul’s voice resounds” 49 ), Paul’s voice-over dominates the soundtrack, connecting and synchronizing the shift between New York and Naples. As

In: Biblical Interpretation

uses the remaining chapters to discuss Brown’s engagement with friends and enemies. In Chapter Seven, “Ecumenism and Interfaith Relations,” Senior displays Brown’s ecumenical spirit. In Chapter 8, “Opposition and Conflict,” he addresses Brown’s ongoing battle with those voices within his own church

In: Biblical Interpretation

is incomplete and unsatisfactory, but for a work that places such a heavy emphasis on historical context this argument should perhaps be voiced rather than avoided. At ­moments, other historical concerns surface. Toward the end of Janzen’s study, we learn that the Chronicler’s “quest for a quiet

In: Biblical Interpretation